Thursday, December 3, 2009

Arcade Fire I-pod Choir

Hi Beds,

Tomorrow all of your hard work will pay off!

So maybe on Sunday, you can go relax and listen/experience the Arcade Choir. (description below)

Good luck with the show!

-Tamara

"Forty singers stand in the middle of a room. They are not professional singers, though some of them might be. They all have iPods, and on every single one of those iPods is the Arcade Fire album “Funeral”. At a signal, they all press play and, the album loud in their ears, start to sing the opening strains of the first song of the album.

Now this singing won’t be very pretty. They’re singing not only the words, but the instruments as well. People are encouraged to hum, howl, beatbox, make any noise that will translate the songs to the audience better.

Not everyone will know all the words. The people in the choir will have listened to the album plenty of times, but not very carefully. They know how the song goes, but won’t necessarily know the lyrics. Or know them correctly.

Because the music in their ears is so loud, they won’t be able to hear themselves, their neighbours, or the sound of all of them collectively. This might result in some very bad singing, but the choir is encouraged to sing their hearts out, the way one does when you’re in the shower and only singing for the joy of it.

They sing the first five songs, then break for an intermission. (Singing is sweaty, thirsty work.) Then they come back and finish the album off.

It could be beautiful, or it could be a disaster. Or it could be a beautiful disaster.

3997 Boul. St-Laurent
(just south of Duluth, it’s the black door with the flames painted on it)
Montreal, QC
Sunday, December 6th, 2009.
9-11 PM
$5 at the door

PLEASE NOTE: This event is an independent event and is NOT affiliated with, NOR has it been authorized, sponsored, or otherwise approved by the Arcade Fire, nor any of its labels. This event doesn't want to lead consumers to believe that there is an association with the Arcade Fire nor that this crazy event is approved or endorsed by the Arcade Fire, in any fashion whatsoever. WE ARE NOT ASSOCIATED WITH THE ARCADE FIRE! WE ARE NOT ASSOCIATED WITH THE ARCADE FIRE! WE ARE NOT ASSOCIATED WITH THE ARCADE FIRE! (THOUGH WE FIND THEIR MUSIC CHARMING.)"


Tuesday, November 24, 2009

Ian's Updated Vignette. Actual script coming soon...

Hey guys,

The following is my finalized plan for the first vignette. I added all the numberings that were lacking in the previous version and I believe the general idea is more concrete than before. All that remains is the actual instructions, which I shall complete tomorrow – I would have finished them off right now but I am ridiculously tired. Mike, Whitney, and Kyle have finished their respective parts and I believe they have already sent out their finished products to the sound crew – perhaps they shall upload them sometime in the near future. Enjoy!

Ian Gerald King

Ian’s Choreography: Vignette of Isolation
Choreography for the SJ2:BED project

Context
- This is the first main portion of themed choreography, following the introductory sequence.
- The order of choreography will be: (1) Ian’s Isolation, (2) Mike’s Restraint, (3) Whitney’s Dinner Party, (4) Kyle’s Tree & Well, and (5) Chu’s Lovers.
- Simply stated, the mood of the unified piece progresses from stark loneliness to a gradual immersion into the social sphere. Perhaps the music group can play on this quality to emphasize the moods that the participants should try to convey.

Players:
- There are 6 individuals, and the following is a list of the special roles they fulfill throughout the 5 vignettes:
#1 – the bedridden and isolated protagonist
#2 – shares the bed with #1 in the first and third vignette
#3 – killer in the third vignette, lover in the fifth vignette
#4 – doctor in the second vignette
#5 – first twin, has a special role in the introductory sequence
#6 – second twin

*Note: I cannot provide accurate estimates of how long each portion will take since I am not sure of the exact time it will take for one to walk the distances described below.

General Choreography

Scene 1
- The bed is situated upstage, house right
- #1 lies in the bed while #2, #3, #4, #5, and #6 surround the bed from its exposed side. #2 is in the center with #3 on his left side and #5 on his right; #4 is to the left of #3 and #6 is to the right of #5.
- After 10 seconds, the group of onlookers walk diagonally down-stage house left and conglomerate in a pentagonal formation, with the base facing down-stage and the point facing up-stage.
- If you are to imagine the pentagon as a human body, lying face up, with feet down-stage and the head up-stage, then the following shall be their positions: #2 is the right leg, #5 is the left leg, #3 is the right arm, #6 is the right arm, and #4 is the head.
- #2, #3, #4, #5, and #6 are all ‘conversing’ (instructed to move their mouths and make gestures with their body). The general mood is pomposity.
- Meanwhile, as all this is taking place #1 has been rolling around violently from side to side in his bed. Several seconds after the main group begins the ‘conversation,’ #1 stops rolling around and lays still for 5 seconds.
- #1 lowers the blanket to his waist, sits up and points at the group of adults with his right arm.
- When #1 points at the group, the group is instructed to freeze into a tableau and #1 does likewise. Hold for 10 seconds and then commence Scene 2.

Scene 2
- #1 lowers his pointing arm, gets out of bed and begins walking in a straight line down-stage. Once reaching the periphery of the stage, #1 turns stage right and begins walking towards the conversing group.
- #1 will be instructed to move along in a slow and sombre manner (melancholic music would help to set the mood). Hands held behind his back, head looking towards the floor, feet dragging, and overall depression permeating.
- Throughout the duration of #1’s progress towards the group, #2, #3, #4, #5, and #6 should be maintaining spontaneous and natural interaction. Some hugs here, some laughs there, and a general comfortable atmosphere should persist. They should appear as though they have known each other for years.
- When #1 approached the group he taps the shoulder of the closest member (either #5 or #6, but it doesn’t matter since they’re the twins) he comes into contact with. When the tap occurs, the individual being tapped freezes into a tableau. #2, #3, and #4 will be instructed to freeze as soon as they see #5 or #6 freeze.
- Perplexed at this phenomena, #1’s depression turns into frustration and anxiety. Proceed to Scene 3.

Scene 3
- Frustrated, yet entirely curious as to the nature of the phenomena presented before him, #1 begins walking counter clockwise around the group. #1 commences by tapping #6 on the left shoulder and receives no reply. Then, #1 steps lightly on #4’s left foot, but receives no reply. Next, #1 touches the head of #3 and/or passes his hands through #3’s hair yet without reply. Subsequently, #1 places his left hand on the right shoulder of #2 and attempts to shake him, but no reply is made. Finally, #1 gets to #5 and does nothing physical. #1 walks into the center of the pentagon and stares #5 straight in the face for 5 seconds. Immediately, #1 breaks down in the center, curls up into a foetal position, on his left side, and faces the general direction of his bed.
- As he walks around them he pokes and taps them as if they were statues – frustration increases as he comes closer to the point of origin from where the circuitous route began. Once #1 reaches his point of origin, the frustration turns back into depression.

Scene 4
- 5 seconds after #1 lies on the floor, #2, #3, #4, #5, and #6 unfreeze and begin to end their get-together.
- #5 shakes hands with #6, while #3 shakes hands with #4, mean while #2 is left out
- #2 crosses his arms turns 180° and bows his head in sadness. Stays like this until the two pairs begin to leave.
- As they shake hands, and wave, the two pairs (#3 & #4 #5 & #6) are completely ignorant of the child laying on the floor between them, as their eyes should never look down. Also they don’t notice the rejected #2 standing dismally by himself.
The group breaks then begin to occur:
- When the pairs begin to move, #2 stays in his location, keeps his eyes fixed on the floor, uncrosses his arms, and gets down on his left knee. He/She should begin to assume a pondering position. More specifically, left knee down, right knee up, right elbow resting on right knee, chin resting on right clenched fist, head slightly tilted to the right, and looking ponderously into space. (Reflecting on his solitude).
- #5 & #6 walk several steps past the center of the stage and face the house right wall with their right sides exposed to the audience. #5 will rest his left arm on #6’s right shoulder and when that occurs, both shall freeze into a tableau.
- #4 takes 2 broad steps forward, followed by #3 taking 3 steps forward (or however many necessary to be perfectly in-line with #4). Both #4 & #3 face the house right wall and take 4 steps forward. After the fourth step, both turn 90° to their left and face the up-stage wall. #4 puts his left hand on the right shoulder of #3and uses his right hand to point directly in front of him at a 120° angle to his body (pointing to the horizon). #3 looks in the direction of the pointing finger and then both freeze into a tableau.
- Overall, the two groups should display a sense of togetherness, which #1 so greatly desires.
- 5 seconds after the adults have frozen into their tableaus, the child gets up and begins Scene 5.

Scene 5
- No longer depressed or frustrated, #1 should exude a general air of indifference. The music playing for him should be upbeat, but casually so.
- First, #1 observes #2 curiously as #2 continues to ponder. #1 reaches out to touch #2, but hesitates and then retracts his hand.
- #1 then walks up to #3 & #4, from behind and tries to see what #4 is pointing at. #1 stares for 5 seconds.
- Next, #1 walks up to #5 & #6 and rests his left arm on #6’s right shoulder and holds it there for 5 seconds. During this time, #1 is trying to make out what the two are looking at, but then decidedly gives up.
- #1 should resemble someone at a wax museum, imitating the poses he’s witnessing.
- Finally, #1 walks towards his bed, and rolls over on his left side. The position should be, for a lack of a better term, “semi-foetal” as #1 faces away from the audience. Scene 6 then gets underway.

Scene 6
- 5 seconds after #1 falls ‘asleep’ (lies down on his left side in the semi-foetal position), the pondering #2 stands up, turns around and walks directly towards the #1’s bed. The walking motion should be confident, imbued with purpose, and with a moderate speed.
- #2 lies down back to back with #1, although in an inverse position: #2’s feet are at #1’s head while #2’s head is at #1’s feet; #2’s face is towards the audience, whereas the #1’s is away from the audience.

The End – transition to Mike’s vignette of Restraint.


Monday, November 23, 2009

Mike Lake's Choreography

Here is what Mike wrote up for the sound people. I think it's exactly what we were looking for. If we can get your scripts (whether or not they are in this format) asap that would be great because we need to record everything by friday.
Thanks,
Annik

Choreography

-Begins with Person #1 lying in bed underneath a sheet. Person #2 – 6 are scattered around the room.
-#2 makes her way to the bed, choosing a corner. #3 makes her way to the bed, choosing another corner. #5 and #6 do the same. #4 remains watching from a distance.
-#2,3,5,6 each take a corner of the bed sheet, pulling it taut over P1. They hold it in place.
-#4 joins at the head of the bed (N.B. In order for #1 to sense #4 approaching, perhaps her audio is silent at this point, or audio that draws attention to this approaching doctor figure)
-[#4 takes a mirror from under the bed and holds it in front of face of #1 while the others keep the sheet taut]
-#6 restrains #1’s head.
-#2,3,5,6 discard the top sheet and take a corner from the sheet underneath #1. They gather it with the person across from them, enveloping #1.
-#4 releases #1’s head and begins to circle the bed slowly, running her hands along the outside of the enveloping sheet.
-#2 drops her corner of the sheet and begins circling the bed, following #4. #3 drops her corner and follows suit. #5 and #6 drop the sheet and circle. #2,3,5,6 are now marching audibly around the bed.
-#2,3,5,6 form a line parallel to the head of the bed. #1 has the strain to see them. The line snakes to the foot of the bed, lead by #4.
-#2,3,5,6 disperse, leaving #4 alone with #1.
-#4 circles the bed one last time, slow and deliberate. He leaves.

Script for #1 (Patient in bed)

-There are no explicit instructions for this character, as they are in bed for the duration of the scene. Music and sound effects, then, could highlight the mood of the action taking place around the bed (i.e. being restrained, enveloped in a sheet, being inspected/being on display). The main focus for the patient, though, should be the tension between him/her and the doctor. Whenever the doctor walks, or circles the bed, the patient’s audio could be the sound of approaching footsteps, or something that makes him/her hyperaware of the doctor’s presence.

Script for # 4 (Doctor)

-Voice: “Put on your lab coat.”

-Intro (15 – 20 seconds of “mood music”)

-Voice: “See your patient in bed? See them? See your patient in bed? See them?”

-[“filler” – something synched with the audio of #1 in bed to create tension between them. This continues until all four people have arrived at the bed and have pulled the sheet taut over the patient. Estimated 45 seconds.]

-Voice: “See your patient in the bed? See them? Walking very slowly, make your way to the head of the bed. When you get there, you must restrain the patient’s head.”

-[sound of slow footsteps]

-[“filler” until the others have gathered the sheet underneath the patient and have enveloped him/her in it.]

-Voice: “Slowly circle the bed. Never lose sight of your patient. Circle the bed.” (this circling should be long enough to build tension. Perhaps 15 seconds or so) “Once you’ve circled twice, gesture to the others to form a line at the head of the bed. (pause to give time for the line to form.) Inspect your patient. Go to the foot of their bed. Again, gesture to the others to form a line at the foot of the bed. (pause to give time for the line to form.) Inspect your patient.”

-Voice: (after the others have dispersed) “Walk very slowly around the bed, inspecting your patient. When you think they can be safely left alone, you may take off your jacket and leave.”


Script for #2 and #3 (Nurse/Caretaker)

- Intro (15 – 20 seconds of “mood music”)

-Voice: “See your patient in bed? See them? Go to them. Stand at an empty corner of their bed.”

- [“filler” while waiting for remaining people to arrive at the bed, estimated 30 seconds in total]

-Voice: (synchronized with the other caretakers) “Grab a hold of a sheet corner and pull it taut over your patient.”

-[“filler” while the doctor makes his/her way to the bed. Perhaps something thematic, along the lines of restraint/doctors&patients/hospital sounds, etc..]

-Voice: “Release the top sheet. Undo the fitted sheet underneath it. Take a corner, lift it high, and gather it with the person across from you, as if you are folding the sheet in half.”

-Voice: (after the doctor has begun to circle the bed) “Follow the doctor.”

-[“filler” from when they circle the bed until they’ve formed the second line. This final instruction should come after the doctor is told to “inspect the patient”]

-Voice: “The doctor would like to be alone with the patient now. Please leave.”

Script for #5 (Nurse/Caretaker)

-Intro (15 – 20 seconds of “mood music”)

-Voice: “See your patient in bed? See them? See your patient in bed? See them?” (This is repeated until #2 and #3 have arrived at the bed.)

-Voice: “Go to them. Stand at an empty corner of their bed.”

-[“filler” while the others make their way to the bed]

-Voice: (synchronized with the other caretakers) “Grab a hold of a sheet corner and pull it taut over your patient.”

-[“filler” while the doctor makes his/her way to the bed. Perhaps something thematic, along the lines of restraint/doctors&patients/hospital sounds, etc..]

-Voice: “Release the top sheet. Undo the fitted sheet underneath it. Take a corner, lift it high, and gather it with the person across from you, as if you are folding the sheet in half.”

-Voice: (after the doctor and #2 and #3 have begun to circle the bed) “Follow the doctor.”

-[“filler” from when they circle the bed until they’ve formed the second line. This final instruction should come after the doctor is told to “inspect the patient”]

-Voice: “The doctor would like to be alone with the patient now. Please leave.”


Script for # 6 (Nurse/Caretaker)

- Intro (15 – 20 seconds of “mood music”)

-Voice: “See your patient in bed? See them? See your patient in bed? See them?” (This is repeated until #2, #3, and #5 have arrived at the bed.)

-Voice: “Go to them. Stand at an empty corner of their bed.”

-Voice: (synchronized with the other caretakers) “Grab a hold of a sheet corner and pull it taut over your patient.”

-[“filler” while the doctor makes his/her way to the bed. Perhaps something thematic, along the lines of restraint/doctors&patients/hospital sounds, etc..]

-Voice: “Release the top sheet. Discard it. Throw it aside. Undo the fitted sheet underneath it. Take a corner, lift it high, and gather it with the person across from you, as if you are folding the sheet in half.”

-Voice: (after the doctor, #2, #3, and #5 have begun to circle the bed) “Follow the doctor.”

-[“filler” from when they circle the bed until they’ve formed the second line. This final instruction should come after the doctor is told to “inspect the patient”]

-Voice: “The doctor would like to be alone with the patient now. Please leave.”

Monday, November 16, 2009

another bed with furry animals



2009-11-16

Hi Beds!
I was so excited with the ideas you brought last friday. You had done a good job. Please don't forget to put on the blog to be 'on tune'. Ok!
See you!
enrique

Sunday, November 15, 2009

Suggestions and Reminders

Hey, Bedheads. I thought I’d write a few reminders as you guys start finalizing the project.


As mentioned in our last session, there is a wealth of ideas choreography-wise. Remember, you have 15 minutes. If you choose to have two 15-minute sections, incorporating the audience idea, then you can include more choreography. Be ruthless and cut what is not needed. Remember, a simple concept well-executed is worth more than a complex idea done in a lame way. No one can see inside your head, they can only see what you present. So logistics matter as much as, maybe even more than, your concept. Sometimes logistics can dictate your concept, which may be a good thing. So stay open and flexible but be rigorous in your execution. Ditch what you cannot do.


Remember that simple actions can create interesting images. When we did our improvisations in the first session, simple actions began to tell complex stories because there was also space for the viewer to project his/her own interpretation onto the piece.


The goal of the next session is to have a rough cut of the 15-minute installation or installations, if you use the audience idea. This means, instructions must be recorded and mixed with the music/sound etc. If it’s not the final music or sound you want to use or not great quality, it doesn’t matter. It's a dry run to check out what can be put into the 15 minutes and if the instructions are clear, etc. The goal is to give the mp3 players to people in the class (ie. not in the choreography group) and see if they can follow the directions. Slap it together because you need to have something concrete to refine for December 4th.


It would be great to test this out in an open space. I am sure we cannot use the theatre. If you guys think of anywhere that we can go just to test it out, that would be great. Are there any rehearsal rooms or anything? I will ask Alanna and see if she has any ideas.

Talk soon!

- Stacey

Thursday, November 12, 2009

Choreography as Seen Through the Camera's Eye


Hi! Here's the Spiral Jetty 1 installation highlights.

As well, here's the Afterlife installation highlights (The Studio 303 Andy Warhol Factory Project).

These 2 videos will also give you an idea of what the mp3 player instructions sounded like.

And just in case you'd like to see the end results again, here's links to the 3 Spiral Jetty movies..




see you all soon,
-Tamara